ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 154

ART Habens Irena Romendik in small kids who like to play with colors. I believe that most people of all ages fit this category more or less, if only they are open to play. avoid mechanical replica, the way of mapping dance to paper is selective and not mirroring. Even a little variation tilts the picture. For example, when I was drawing Yuri’s South Indian dance, my drawing suddenly shaped into a depiction of historic Indian sculpture because of vectors of traditional movements. And when I tried to catch figure eight of her veil on camera, it became impossible because that shape only existed as optical illusion during the dance. Dance only exists as a process of dancing, calibrating perfectly to my drawing practice, and making wonderful metaphor for life. With auscultating approach, everything matters, and drawing of different people and movements produces distinct modes of expression, very specific to the dancer, light, music, and whole surrounding atmosphere. Hand extends seeing mind, brush continues hand, music moves soul, rhythm changes heartbeat -- symbiotic interactions are difficult to pinpoint. As I’ve pointed before, similar to music notation representing a melody, artwork invites personal interpretations. The difference is that even if it’s beneficial to know musical grammar, it’s not required, and still possible to play. Passive spectatorship is nevertheless a conversation, with an artist silently screaming in a loudspeaker and the viewer thinking aloud. I don’t mind that either -- not everyone is ready to dance, they might want to observe first and decide for themselves later. As long as there is a willingness to listen, there will be a melody. I’m currently experimenting with tapestries, conductive lace, and going back to oil. I’m also engaged in a long term experiment with a series of oil canvases and considering to “finish” the process, put it in a “stop bath” so to speak. Basically, it’s a series of multilayered paintings that I started about 15 years ago, and added layers of handmade paints over these years, working with chemical reactions. That might turn out as a total failure, but I hope to see very interesting development there. Absolutely, my audience is a crucia